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CORISCO & DADA Corisco, un infame cangaceiro conocido como "el diablo rubio", famoso por su crueldad y osadía, rapta a Dadá, una niña de doce años a quien viola, seduce e integra a su ganga, condenándola a una vida de delincuencia. El policía Zé Rufino jura capturar a Corisco y sus secuaces, poniéndole precio a la cabeza del criminal. Corisco y Dadá llevan la hostil existencia de nómadas perseguidos, enfrentándose a gangas rivales en sangrientos encuentros. Dadá sueña con echar raíces y una vida más normal, pero la persecución de Rufino truncará esas vanas ilusiones. El fenómeno de los cangaceiros, delincuentes que azotaban la región de Bahía en el noreste de Brasil en los años 20 y 30, es un tema que ha fascinado a más de un director carioca. Recordemos el clásico O cangaceiro de Walter Lima, y los extraordinarios filmes de Glauber Rocha, Dios negro, diablo blanco y Antonio das mortes. Si Rocha explotaba sus distanciamientos brechtianos en mordaz crítica de la sociedad contemporánea del Brasil, Cariry, con un estilo directo, ágil, limpio se concentra en los lazos que unen a Dadá y su compañera. Sin romanticismo, con gran realismo y minuciosidad histórica, Cariry recrea las vidas de estos forajidos que el gobierno no podía ignorar: los vistosos uniformes, la música, el salvaje fervor religioso. Logra maravillas con sus actores. El Corisco de Chico Días nos hace aceptar la furia "religiosa" que le impulsa a derramar sangre enemiga. Dira Paes como Dadá es pura intensidad -- la mujer que no se detiene frente al hambre, la sed, la pérdida de tres hijos. Un mundo olvidado, fascinante, cobra vida gracias al don del realizador. |
CORISCO & DADA Corisco, a cangaceiro known as "the blond devil" for his cruelty and fearless ways, kidnaps Dadá, a 12-year-old girl whom he rapes, then seduces and incorporates into his gang, condemning her to the life of a delinquent. Policeman Zé Rufino swears he will capture Corisco and his gang, putting a bounty on his head. Corisco and Dadá lead the hostile lives of persecuted nomads, running from the law and clashing with rival gangs in bloody facedowns. Dadá dreams of a home and a normal life, but Rufino's hunt chases away any such illusions. The phenomenon of the cangaceiros, a delinquent element which was the scourge of Bahía in the Northeast region of Brazil in the 20s and 30s, is a theme that has fascinated many a Rio filmmaker (Walter Lima's O cangaceiro; Glauber Rocha's outlandish Black God, White God and Antonio das mortes). While Rocha displayed his Brechtian moods in biting attacks on Brazilian society, Cariry, with a direct, dynamic, clean style, concentrates on the links which join Corisco and his companion. Without romanticizing, with stark realism and minute historical detail, Cariry recreates the lives of these bandits that the government could not ignore: their colorful clothes, wild music, savage religious fervor. He does wonders with his actors: Corisco as played by Chico Días makes us believe the "religious" fury which pushes him to shed enemy blood. Dira Paes as Dadá is pure intensity -- the woman who is unstoppable by hunger, thirst, the loss of three children. A forgotten, fascinating world comes to life thanks to the creative gift of this filmmaker. |
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Rosemberg Cariry Nace en 1953 en Farias Brito, Brasil. Graduado en filosofía, es poeta, periodista e investigador, y luego productor, guionista y director. Ha dirigido documentales para la televisión brasileña. Sus otros largos: The Cauldron of the Holy Cross in the Desert (86) y La saga del guerrero luminoso (93). |
Rosemberg Cariry Born in 1953 in Farias Brito, Brasil. A philosophy graduate, he is a poet, journalist and researcher as well as a producer, screenwriter and director. Has directed several documentaries for Brazilian television. His other features: The Cauldron of the Holy Cross in the Desert (86) and The Luminous Warrior's Saga (93). |
Director: Rosemberg Cariry |